in at all worthy of the name is the subject
in hand. Innumerable effects may be obtained by changing the proportion
of groundwork or priming, and top or coloured varnish. As the
celebrated old Italian varnish was not one kind but very many different
kinds, it is more than probable that the different results obtained
by the celebrated liutaros consisted to a greater extent in the manner
of the application than any wonderful quality of material. Of this
subject much might be written which would fill many times over the
capacity of our present volume.

A few words more may be said in conclusion regarding the varnishing
of new work on old violins; it must not be supposed that for the
imitation of the surrounding work an exact repetition of the old
Italian process with the identical substances used by the liutaros
would be absolutely necessary for perfect or near success; it must be
borne in mind that old varnish near the spot with its partial decay,
probably from many causes, has to be imitated, and that what would be
a great success with regard to a small space, might in all probability
prove a signal failure when the whole instrument is so treated.

As a final stage, a freshly varnished portion (and over newly inserted
wood), will require a little rubbing down (as it is termed); this may
be done with some of the finest and worn glass-paper, finely ground
pumice and oil, with a last turn of tripoli powder or rotten stone with
oil. This should be done only when the varnish is quite dry and hard.

THE END.

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